For Georges Braque (1882–1963), musical instruments were always an expression of the interplay between music and image. It was long overdue to translate his work from the realm of visual ideas into real life. For this reason, an old violin (which was hopeless in terms of sound) was boldly given a new sound as a side project. Of course, the instrument—like all my design studies—is playable as a concert instrument.

Thanks to the black spruce bridges, which are matched both inside and out, the instrument has retained its continuous body volume and, as a result, the Helmholtz resonance that is essential to its acoustics. However, the tonal warmth—which the instrument originally lacked in the lower register and which is essential to a good concert instrument—could not be achieved through this bold Cubist redesign either. The instrument, which was originally lacking in this regard, has certainly gained in high-frequency projection.